The Business of English Restoration Theatre, 1660-1700

Inbunden, Engelska, 2024

2 049 kr

Beställningsvara. Skickas inom 5-8 vardagar. Fri frakt för medlemmar vid köp för minst 249 kr.

Deborah C. Payne's ground-breaking study traces the historical origins of a dilemma still bedevilling theatre companies: how to reconcile audience demand for novelty with profitability. As a solution, English acting companies in 1660 adopted an unprecedented theatrical duopoly. Implicit to its economic logic were scarcity, prestige, and innovation: attributes that, it was hoped, would generate wealth and exclusivity. Changes to playhouse architecture, stagecraft, dramatic repertory, and company practices were undertaken to create this new, upmarket theatre of "great expences." So powerful was the promise of the duopoly and so enthralling the wholesale transformation of the theatrical marketplace that management-despite dwindling box office-resisted change for 35 years. Drawing upon network and behavioural economic theory, Professor Payne shows why the acting companies clung to an economic model inimical to their self-interest. Original archival research further bolsters this radically new perspective on an exciting and crucial period in English theatre. This title is also available as Open Access on Cambridge Core.

Produktinformation

Utgivningsdatum2024-06-13
Mått161 x 235 x 21 mm
Vikt590 g
FormatInbunden
SpråkEngelska
Antal sidor302
FörlagCambridge University Press
ISBN9781009398213

Tillhör följande kategorier

Deborah C. Payne is Associate Professor in the Department of Literature at American University, Washington DC. Her previous publications include The Cambridge Companion to English Restoration Theatre (2000); Four Libertine Plays from the Restoration (2005); Revisiting Shakespeare's Lost Play: Cardenio/Double Falsehood in the Eighteenth Century (2016); and, with Drew Lichtenburg, The Shakespeare Theatre Company, 1986 – 2021 (2024). She also consults for theatre companies in Washington, DC.

'In Deborah C. Payne's richly detailed book, the culture of Restoration Theatre emerges as a complex, dynamic blend of aristocratic patronage and market economics. No other study joins those twin contexts with such expert conviction. This study will be a key reference point for anyone curious to know more about how the Restoration Stage fought to establish itself in an increasingly frantic cultural marketplace.' David Roberts, Birmingham City University